Planning Your Video Sequence
Here's just sort of an establishing shot. Okay. So a lot of times I would shuttle through the footage with the JKL keys, so J puts you backwards, which with H.264 footage it just really struggles to go backwards, especially if you're dealing with 4K files, but forwards it tends to do an okay job, so right now I just hit the spacebar to play, but if I wanted to fast-forward I could hit the L key just to find my end point. So again, I stopped with the spacebar, play with the spacebar, you can fast-forward with the L key. J you can back it up, K you can stop it. Yeah so I typically just use the spacebar and J and L. Also when you're dealing with a ton of footage, with this we needed to keep the camera rolling. Typically I would just shoot just when I know the shot's beginning, but since we had to sync these with the other cameras that were rolling on the ground, we slated them all at the same time and just, I left it rolling, so we got a lot of footage to go through, so I might find my en...
d point. So say right now I say okay that might be a cool establishing shot, so I'll just click I on the keyboard for an end point, and actually I saw kind of a weird yah, so I'm gonna stop and hit I again so that yah stopped. And so now it's just kind of chill like that. Oh yeah right, we shot 60P. So before we get in to this, let's talk about that. So a lot of these what I'm gonna want to do is have it play in slow motion. So what you do with that, is you can see here under frame rate, it's 59.94. So what I typically do, is I will highlight the clips that I want to be interpreted at 24P, and so whoops, let's see. Right click, and then modify, go to modify. So I right clicked, or control clicked on a MAC, or I used control click. And then interpret footage, so right now it's saying use frame rate from file 59.94, I just assume this frame rate and I do 23.976, which is your standard 24P frame rate there. Cool, so now when we play it back, we're gonna be getting that slow-mo goodness. So let's try that. There we go. By the way control tilde gives you full, full-screen. So now that's looking kind of moody, kind of cool, see the birds in the background. So yeah, and the same rule applies as before, if I wanted to select, I mean the same commands, so in, we got that, and out, that's probably long enough for that shot. And then from there, you can, to get a sequence going, so a sequence is where you're going to start laying out all your clips. You can right click on that clip that we were working on. This was 1080, I know I'm gonna output to 1080, some people are putting stuff out on YouTube and stuff at 4K, most of the time I'm just doing 1080. One, we shot this in 1080, so there's no reason why we would chose 4K. And I shot this in 1080 because I wanted to shoot 60P. Currently on the Phantom you can't shoot 60 frames per second at 4K. So you can start a, a new sequence a couple different ways. What I like to do, is just to make sure the sequence matches the settings of the clip, is I will just right, did it again on me. Oh here we go. Yeah this screen resolutions smaller because I'm mirroring here, okay. It was hiding from me. So you right click and just create new sequence from clip, and then what it does is it remembers your in and out points on that clip that you're on and it's already inserted the clip for you. So then if we were just gonna rock through all this footage, in here we want to get to the end of this. You can use your up and down arrows to get from the clip beginning to the clip end, and so what I'd do is I'd go shift one, and then I'd toggle down and open up the clip that I want by going shift O. See that star little landing pad, I'm just rocketing through using L right now. As you can see, oh I remember that's a take where we had the wrong ND on and so everything's blown out. So I remember that, I can scroll through. And I, oh maybe the beginning was blown out but we started looking down, nope there's some good stuff in there, just kidding. Alright so right here. That looks pretty cool slow-mo. So yeah just get a few of those, and I just hit the O key for out, and so now we've got in and out. And there we go, I just, oh sorry I used the comma key to throw it in to the sequence. So it's just like a very repetitive thing once your, when you're culling through your footage. Shift One and then shift O, sorry shift one takes you to the project panel, shift O to open the footage, play it, fast forward through it. Maybe grab another, another clip right here. I like that maybe of the water crashing. Yeah sometimes it's faster just to grab the play head and just find out where the next shot is. So I like to cut on the action, so maybe hit I, wait for that wave to hit. Oh see it's hit right about there, so stop it there, I. Right there, cool. Call that good, and O, so in and out points, I and O. And then hit your comma again to insert it, and so now we've got. Oh shift three if you wanted to not have to point and click, shift three gets you over in to the sequence window. And then you can hit, if you just ever wanted to preview what you just did, you can, you can just go in to that and let's play. Kind of preview some of our footage. So already we're starting to come up with sort of an idea of an edit. The music kind of works, that surf guitar, you know. So any questions on just culling through footage, one thing is when you work on large projects you get really quick at this. That's where having all the short cuts nailed down really saves you a ton of time. When I was working on the Iceland project we had like five or six days of footage from morning until night that I had to go through, and so I was literally just going shift one to get to the project pane, scrolling through with the JKL keys, then I and O to get your points, insert it with the comma and then occasionally using shift three to get over to the sequence and playing back some stuff. Shift one and you just go round-robin. Just round-robin and you're just, you're not being too critical, you're just trying to get the selects and then from there once you have a sequence with all the selects then you're good to go and you can start being a little bit more on the, working on the creative side with your edit. Anybody have questions about that? Yup.
I have a question about Workspace. So is this the standard Adobe, or did you set up your own like as far as arranging?
Yeah, so this is a standard editing workspace at the top. You can see right here, I mean typically sometimes I'll, especially I'm working on a small laptop screen sometimes I'll force things around a little bit, but. So for example, you go up here to workspace you can, if you wonder if you kind of got some things kind of messed up on you, you can just reset to save layout and so you can see where I've just moved things around a little bit. As we get in to color grading we'll hop on over to color, and sometimes your source window's still up and what I like to do is make sure obviously that your scopes are up there yo you can grade, you can judge your color grading and kind of what it's doing to the image there on sort of an analytical level. So yeah, so if you don't have any questions on that what I'll do is jump in to the project where I've already culled through my favorite shots and we can take a look at that.
"To everyone out there wanting to learn how to fly a Drone and take incredible images and videos; I promise Blayne Chastain is your guy!" -Brooke, CreativeLive Student
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Blayne Chastain has over three decades of practice flying RC aircrafts. He is the co-founder of Cloudgate, a film company specializing in cinematic aerials. He's captured aerial footage everywhere, from the seat of a kayak in Iceland to chasing snowboarders down a mountain with his drone. With the teachings in this class, you’ll have the ability to maximize your flight hobby, and turn your images into a part of your business.
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